By Tim Savchenko
notinbed (the lower case n is how he likes it)— the alias of French producer Austin Paoli, who works in Paris but hails from Cannes — is one of the freshest voices to emerge from the electronic scene in recent years. An artist who refuses to be pinned down to any single genre, he blends dariacore, hardstyle, hyperpop and witch house into something that feels entirely his own, representing a new chapter in a story that began with Daft Punk and Justice.
In this piece, we take a look at his work — in particular his EP ADHDMUSIC Vol. 1 — and sit down with him for an exclusive interview, in which he speaks about his journey from a bedroom studio in the south of France to producing for The Weeknd and Kid Cudi, what experimentalism actually means in 2024, and where the French electronic scene stands today.
Tim Savchenko introduces Parisian EDM experimentalist Notinbed.
Interview with Notinbed
TIM: How did you get into music, and when did you realise it was something serious?
notinbed: I started around 14, just messing about with FL Studio at home, not showing anyone anything. It felt more like a hobby — somewhere between play and experiment. But at some point I caught myself spending eight hours at the computer without getting bored. That’s when I understood it wasn’t just a pastime.
Who or what influenced you most at the very beginning?
There was always different music playing at home — everything from classical to electronic. But if I’m talking about a specific moment, it was Daft Punk’s Discovery. I didn’t understand how it was made, but I felt like I wanted to be able to do the same thing. Then came Aphex Twin, Arca, Clams Casino — and it all snowballed from there.
You’re from France — how much did the French electronic scene shape you as an artist?
It gave me a foundation, but not a set of rules. French touch house, filter disco, that whole late-90s and early-2000s sound — it’s in my blood. But I never wanted to be just another French electronic act. It was important for me to find something of my own, so I started looking towards the American underground, Japanese electronics, Bristol trip-hop.
How old were you when you started producing?
Seriously — around 16. Before that it was just sketches, loops, random sounds. But at 16 I made something for the first time that you could actually call a proper track. I played it to a friend and he said it sounded real. That mattered.
Are you self-taught, or did you have a formal music education?
Completely self-taught. No conservatoires, no teachers. YouTube, forums, loads of trial and error. Sometimes I think a classical education would have given me tools I’m missing. But on the other hand — not knowing the rules helped me break them without even thinking about it.
Will there be an ADHDMUSIC Vol. 2, and if so, when?
Definitely. I’m already working on material. I don’t want to give specific dates, because it’s important to me that everything comes together organically. Vol. 1 was about chaos and speed. Vol. 2 will be… different. The same ADHD energy, but perhaps with a different mood — darker, or unexpectedly more lyrical. We’ll see.
How did it even come about that you started working with names like The Weeknd and Kid Cudi?
Honestly? Through a chain of people. The music business is primarily about connections. I worked with less well-known artists, one of them introduced me to someone else, and it gradually built from there. There was no single moment of “right, they’ve noticed me.” It was a long, quiet process. When you just get on with your work and don’t stop — sooner or later the right people hear it.
Do you feel creative freedom when you’re producing for other artists, or is it more of a craft?
Both — and that’s the beauty of it. When you’re working for an artist, you have to listen to them, understand their language, their world. That’s discipline. But within those boundaries there’s always space for yourself. I never make tracks that don’t interest me personally. If I’m bored during the process — you can hear it in the result.
Do you consider yourself an underground artist? What does that word even mean to you?
Underground to me isn’t about stream counts or turning down money. It’s about your attitude towards sound. It’s when you don’t ask yourself “will this work on the radio,” but ask “is this honest.” In that sense — yes, I’m an underground artist. Even when I’m working with mainstream names.
How do you rate the French electronic scene today — is it still alive?
It’s alive, but differently from before. There’s no single defining moment like there was in the 2000s, when the whole world was looking at France. The scene now is more fragmented, more local — and I think that’s fine. But there are lots of interesting people emerging who aren’t trying to recreate Daft Punk, they’re doing something of their own.
Are there any young French artists you’re keeping an eye on?
Yes, a few — but I don’t want to name them. Not because I’m being secretive, but because they’re still at an early stage and they should announce themselves when they’re ready. I’ll say this: the French scene right now is more interesting than people tend to think. You just need to know where to look.
Is Paris still the capital of electronic music, or have the centres shifted?
Paris is a legend, a brand. But the real energy is everywhere at once now. Berlin hasn’t gone anywhere, London is going through a new wave, scenes are emerging in Eastern Europe, in Latin America. The internet killed any one city’s monopoly. And that’s a good thing — music has become more geographically honest.
A brief example of Notinbed’s music
